Infinitely beautiful, endlessly inspiring, these are just a few ways to describe how we feel about flowers. And it's a notion that perhaps no-one understood better than William Morris. From unfurling lilies to golden honeysuckle, blooms were the renowned textile designer's most loved muse.
After studying classics at Oxford University, Morris moved to the Kent countryside and developed close friendships with Pre-Raphaelite artists Edward Burne-Jones and Dante Gabriel Rossetti. It's here that his ornate tapestries and wallpapers first came to colourful fruition, as well as his adoration for the British landscape.
By the time of his death in 1896, he was an emblem of the arts and crafts scene –
someone who championed by-hand techniques, regularly took commissions from names such as the V&A and whose work stood as a reminder to look a little closer at nature.
As a new season rolls in and a collection of Morris & Co. wallpapers touches down at Anthropologie, we sat down with Claire Vallis, Morris & Co’s Creative Director, to talk about the man himself, symbolism, authenticity and the future.
Behind the Design:
Morris & Co.
A peek at the craftsmanship behind
one of the world's most iconic names.
Where did it all start? And how did Morris & Co come to be what it is today?
William Morris started Morris & Co. in 1861 – we’re actually celebrating our 160 year anniversary! Morris himself was a collector, a creator and a scholar on subjects ranging from fine carpet weaving and medieval herbals to Icelandic fairytales. He cared about how things were made, as leader of the Arts and Crafts movement he wanted to create products that had more integrity than the fashionable, frivolous and Victorian style at the time.
Each pattern and creation upholds the legacy of its founder and namesake, William Morris – can you tell us how you do this?
As part of our archive we hold all the original log books which contain all the recipes, cuttings and printmaker’s notes. We also own production notes in William Morris own handwriting and all the original wallpaper printing blocks used to print each design. The craftsmanship, creativity and love that Morris put into his work continues today. We still create all our own product here in the UK in our own factories. It’s this continued history of making that gives us our authenticity.
William Morris started Morris & Co. in 1861 – we’re actually celebrating our 160 year anniversary! Morris himself was a collector, a creator and a scholar on subjects ranging from fine carpet weaving and medieval herbals to Icelandic fairytales. He cared about how things were made, as leader of the Arts and Crafts movement he wanted to create products that had more integrity than the fashionable, frivolous and Victorian style at the time.
Each pattern and creation upholds the legacy of its founder and namesake, William Morris – can you tell us how you do this?
As part of our archive we hold all the original log books which contain all the recipes, cuttings and printmaker’s notes. We also own production notes in William Morris own handwriting and all the original wallpaper printing blocks used to print each design. The craftsmanship, creativity and love that Morris put into his work continues today. We still create all our own product here in the UK in our own factories. It’s this continued history of making that gives us our authenticity.
Morris-patterned wallpaper and upholstery continues to stand the test of time – how do you blend heritage designs with more current trends?
William Morris designs have a wonderful symmetry to them, a nostalgia which is so well-loved and recognisable even today. It’s our responsibility to make them usable with new colour combinations, print techniques and inspirational imagery, keeping his work alive for a new audience
A few of William Morris’ inspirations were medieval tapestries, animals and nature – how do these influences still play a part in the design process today?
Everything that Morris created was rooted in his love of nature, and in particular the symbolism of the English hedgerow and landscapes of meadows. This source of inspiration continues in our work today. We’ve just created a brand new wallpaper panel inspired by the design of our Morris Chelsea flower show garden. The planting of the garden is in turn inspired by some of Morris’ favourite plant motifs.
What does a typical day for the design team at Morris & Co. look like?
Busy! We’re a small but committed team. Everyone loves what they do and the design process is a continually evolving one. Our designers are often working on lots of projects all at the same time from collection development to working with partners around the world.
Can you tell us about the printing techniques that bring the Morris & Co. wallpapers to life today? Does William Morris’ love of hand-block printing still feature in the design process?
Although we do still hand-block print special Morris and Co. orders, most of our wallpapers are printed using surface print. This type of machine printing is a direct evolution of block printing. Our surface print machines are over a hundred years old so it still requires a huge amount of knowledge and skill to create. Although a machine, marks can never be exactly replicated and so each individual print is unique.
William Morris designs have a wonderful symmetry to them, a nostalgia which is so well-loved and recognisable even today. It’s our responsibility to make them usable with new colour combinations, print techniques and inspirational imagery, keeping his work alive for a new audience
A few of William Morris’ inspirations were medieval tapestries, animals and nature – how do these influences still play a part in the design process today?
Everything that Morris created was rooted in his love of nature, and in particular the symbolism of the English hedgerow and landscapes of meadows. This source of inspiration continues in our work today. We’ve just created a brand new wallpaper panel inspired by the design of our Morris Chelsea flower show garden. The planting of the garden is in turn inspired by some of Morris’ favourite plant motifs.
What does a typical day for the design team at Morris & Co. look like?
Busy! We’re a small but committed team. Everyone loves what they do and the design process is a continually evolving one. Our designers are often working on lots of projects all at the same time from collection development to working with partners around the world.
Can you tell us about the printing techniques that bring the Morris & Co. wallpapers to life today? Does William Morris’ love of hand-block printing still feature in the design process?
Although we do still hand-block print special Morris and Co. orders, most of our wallpapers are printed using surface print. This type of machine printing is a direct evolution of block printing. Our surface print machines are over a hundred years old so it still requires a huge amount of knowledge and skill to create. Although a machine, marks can never be exactly replicated and so each individual print is unique.
The Strawberry Thief might be one of Morris & Co’s most recognised prints. What's the story behind this print?
There is a wonderful quote from May Morris, William’s daughter, that reveals her father’s inspiration for the Strawberry Thief design. According to May, he spotted a group of ‘rascally thrushes’ stealing strawberries from the fruit patch at his country home, Kelmscott Manor.
We’re also stocking ‘Fruit’, (one of the earliest Morris wallpapers) and ‘Bird & Pomegranate’ (one of the last block-printed Morris wallpapers). Are you able to tell us about the inspiration behind these prints?
The exotic fruit motifs in this early wallpaper reflect Morris’ interest in the history of fine woven textiles. The Pomegranate motifs used in both wallpapers were very popular in the Renaissance period and Persians considered them a symbol of fertility and immortality.
Fruit was one of two trellis-style wallpapers produced by Morris & Co. in 1864 and in many respects these designs are unusual compared to the organic flowing lines of later designs. Fruit must have formed the backdrop to many Pre- Raphaelite brotherhood gatherings, given that it hung on the walls at the home of Morris’s friend, the painter Edward Burne-Jones.
There is a wonderful quote from May Morris, William’s daughter, that reveals her father’s inspiration for the Strawberry Thief design. According to May, he spotted a group of ‘rascally thrushes’ stealing strawberries from the fruit patch at his country home, Kelmscott Manor.
We’re also stocking ‘Fruit’, (one of the earliest Morris wallpapers) and ‘Bird & Pomegranate’ (one of the last block-printed Morris wallpapers). Are you able to tell us about the inspiration behind these prints?
The exotic fruit motifs in this early wallpaper reflect Morris’ interest in the history of fine woven textiles. The Pomegranate motifs used in both wallpapers were very popular in the Renaissance period and Persians considered them a symbol of fertility and immortality.
Fruit was one of two trellis-style wallpapers produced by Morris & Co. in 1864 and in many respects these designs are unusual compared to the organic flowing lines of later designs. Fruit must have formed the backdrop to many Pre- Raphaelite brotherhood gatherings, given that it hung on the walls at the home of Morris’s friend, the painter Edward Burne-Jones.
Pimpernel (another print we’ll be stocking), was used by William Morris himself in his dining room at Kelmscott House. What was Morris’ own home like? And is there anywhere our readers can visit to get a sense of this?
Kelmscott House was the London home of William Morris from October 1878 until his death in 1896, it is a Georgian brick house at 26 Upper Mall Hammersmith overlooking the river Thames. There are surviving images of Morris’ dining room showing a wonderful eastern carpet used as a wall hanging against a backdrop of Pimpernel wallpaper. Although the building is now a private house, the basement and coach house are the headquarters of the William Morris Society which is open to visitors on Thursday and Saturday afternoons.
To get a sense of Morris’s decorative style its worth a visit to his country residence Kelmscott Manor, The Red House or the Emery Walker House which have been preserved in keeping with the arts and crafts style - showing original William Morris wallpapers, furniture and tapestries.
Morris described Kelmscott Manor as ‘Heaven on Earth’. Morris intended to create a restful place and a working piece of art. The way the house is designed and decorated demonstrates a communal life with contributions by Rossetti, Webb, Edward Burne-Jones and Madox Brown.
Kelmscott House was the London home of William Morris from October 1878 until his death in 1896, it is a Georgian brick house at 26 Upper Mall Hammersmith overlooking the river Thames. There are surviving images of Morris’ dining room showing a wonderful eastern carpet used as a wall hanging against a backdrop of Pimpernel wallpaper. Although the building is now a private house, the basement and coach house are the headquarters of the William Morris Society which is open to visitors on Thursday and Saturday afternoons.
To get a sense of Morris’s decorative style its worth a visit to his country residence Kelmscott Manor, The Red House or the Emery Walker House which have been preserved in keeping with the arts and crafts style - showing original William Morris wallpapers, furniture and tapestries.
Morris described Kelmscott Manor as ‘Heaven on Earth’. Morris intended to create a restful place and a working piece of art. The way the house is designed and decorated demonstrates a communal life with contributions by Rossetti, Webb, Edward Burne-Jones and Madox Brown.
Morris & Co’s prints work happily in small or large spaces, why do you think this?
William Morris was a master of repeat, so his designs have a wonderful flow and rhythm which is so pleasing to the eye. They create impact, but also the rhythm has a rest quality.
Do you have any specific hints and tips for people wanting to introduce William Morris prints to their space, large or small?
I’d say go for it. These patterns have stood the test of time delighting homeowners for 160 years. Their enduring quality lasts a lifetime, having survived two world wars and now one pandemic. I would recommend starting as accents in the room cushions, blinds, wallpaper. I guarantee it won’t be long below you fall in love!
How about mixing prints – any advice on best practices for this?
For me, Morris works best when patterns are layered – the more the merrier. Using the same colour pallet, I’d mix and match different scales of patterns and textures at a block colour to create impact.
William Morris was a master of repeat, so his designs have a wonderful flow and rhythm which is so pleasing to the eye. They create impact, but also the rhythm has a rest quality.
Do you have any specific hints and tips for people wanting to introduce William Morris prints to their space, large or small?
I’d say go for it. These patterns have stood the test of time delighting homeowners for 160 years. Their enduring quality lasts a lifetime, having survived two world wars and now one pandemic. I would recommend starting as accents in the room cushions, blinds, wallpaper. I guarantee it won’t be long below you fall in love!
How about mixing prints – any advice on best practices for this?
For me, Morris works best when patterns are layered – the more the merrier. Using the same colour pallet, I’d mix and match different scales of patterns and textures at a block colour to create impact.